Star Composers

August 9, 2015, 3:30 pm

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The Hollywood Walk of Fame is the famed tourist trap that has been attracting crowds since the 1960s. Set up by the Chamber of Commerce, the 2,000+ stars match the categories of Motion Pictures, Television, Recording, Radio, and Live Performance. 

Ranging from the likes of Clark Gable to Shrek, each star is purchased (for a hefty $30,000) and typically coincides with a new film's promotion.

That being said, sometime in 2015 Ennio Morricone will receive a star. I remember Hans Zimmer receiving one with the release of Inception. So it made me wonder what other film composers have a star.  Here's a list of these film composers (and the year their star was unveiled).  

ELMER BERNSTEIN (1996)

BILL CONTI (1989)

MAURICE JARRE (1994)

HENRY MANCINI (1982)

ALAN MENKEN (2010)

ENNIO MORRICONE (2015)

Coming soon!

ALFRED NEWMAN (1960)

RANDY NEWMAN (2010)

LALO SCHIFRIN (1988)

ROBERT B. & RICHARD M. SHERMAN (1976)

MAX STEINER (1975)

MORRIS STOLOFF (1960)

PAUL WILLIAMS (1983)

VICTOR YOUNG (1960)

HANS ZIMMER (2010)

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Composer Cameos #4

August 19, 2015, 5:00 pm

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Here is the 4th installment of Composer Cameos! Even more composers spotted in film and television! (Read the previous ones here: #1, #2, #3)

DAVID ARNOLD

David Arnold has bit parts in 2 episodes of Little Britain (2003)

BURT BACHARACH

Bacharach plays piano in Austin Powers: The Spy Who Shagged Me (1999)

ROQUE BAÑOS

Banos conducts in The Oxford Murders (2008)

TYLER BATES

Bates appears in the background as a Ravager in Guardians of the Galaxy (2014)

LUDOVIC BOURCE

Bource leading the band in OSS 117: Cairo, Nest of Spies (2006)

Bource plays flute and looks on in OSS 117: Lost in Rio (2009)

PATRICK DOYLE

Doyle leads the rousing Non nobis, Domine in Henry V (1989)

DUKE ELLINGTON

Ellington (as Pie-Eye) plays piano with Jimmy Stewart in Anatomy of a Murder

MICHAEL GIACCHINO

Giacchino checks tickets at the World's Fair in Tomorrowland (2015)

JOEL GOLDSMITH

Goldsmith plays poker in an episode of Stargate: Atlantis (2008)

MARVIN HAMLISCH

Hamlisch (far right) parties in The Way We Were (1973)

Hamlisch's performance is interrupted in How to Lose a Guy in 10 Days (2003)

FRIEDRICH HOLLAENDER

Hollaender conducts in One, Two, Three (1961)

BEAR MCCREARY

McCreary appears in a zombie nighmare in Angry Video Game Nerd: The Movie (2014)

MORRIS STOLOFF

Stollof conducts in Jolson Sings Again (1949)

FRANZ WAXMAN

Waxman sings and plays piano in Der Mann, der seinen Mörder sucht (1931)

VICTOR YOUNG

Young conducts in the short, Hold That Tiger (1940)

Young conducts in The Country Girl

Quick Review: Mission: Impossible - Rogue Nation

August 30, 2015, 9:30 am

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Mission: Impossible - Rogue Nation

Music composed and conducted by Joe Kraemer

Mission: Impossible Theme by Lalo Schifrin

Music orchestrated by Matt Dunkley

Music recorded at Abbey Road Studios, British Grove
Album running time: 73 minutes
Available on La-La-Land Records
(Album exclusive tracks marked with *)

It's been a few years since we've seen Ethan Hunt and his IMF team in Mission: Impossible - Ghost Protocol(2011).  Being the best in the series, that film is hard to top.  The franchise has seen an interesting group of composers from Danny Elfman’s Mission: Impossible (1996), Hans Zimmer’s Mission: Impossible 2(2000), to Michael Giacchino’s Mission: Impossible III (2006) and Ghost Protocol (2011). 

Relative scoring newcomer Joe Kraemer steps up to the plate, after working with director-writer Christopher McQuarrie and Tom Cruise on Jack Reacher (2012).  Kraemer’s score has a retro feel, using a completely orchestral palette.  Kraemer also weaves the Schifrin main TV theme (MI Theme), and the TV theme “The Plot” into the score and his own Ethan Hunt theme.  Other main themes include one for the baddies, The Syndicate, as well as turning the melody of Puccini’s Nessun Dorma into a leitmotif for the vixen, Ilsa Faust.

The A400 accompanies the opening larger-than-life plane stunt, setting up variations of Schifrin’s MI Theme.  The Plot theme makes an appearance among hints of Ethan’s theme as the suspense builds to a full main titles statement of the MI theme.    

Solomon Lane introduces the theme for our villain, a snake-like theme for the flute and woodwind section.  The theme grows and expands throughout the track with an almost hypnotic snake charmer feel.  Good Evening, Mr. Hunt builds more suspense with a brief nod to the Schifrin theme.  The brass enter with a large sting as Solomon Lane’s theme appears near the end. 

Escape to Danger starts the spy sound with ticking percussion and large orchestral hits and keeps it up without losing steam.  There are slight variations of Schifrin, so it can feel like it is part of the fabric of the score.  There is also flute solo of Nessun Dorma snuck in, which of course plays a larger part in the next few sequences.  Kraemer sets up Havana to Vienna with a Cuban flavor and Schifrin quotes.  The tremolo strings and ticking percussion continue, this time with a reference to The Plot and Solomon Lane’s themes.  A Flight At The Opera keeps the action going in this sequence with the brass and strings taking charge. There are some quotes of Schifrin and Ethan’s theme almost connected together. 

The Syndicate begins with Lane’s theme in a shadowy setting until the Mission Impossible trill appears and sets up The Plot theme (with a really interesting Middle Eastern variation).  The Plan brings us the classic spy sound, blending the Schifrin style and Ethan’s theme.  We get a lot of nice suspense music continuing into It’s Impossible*, a short cue featuring Lane’s theme spread among several instruments.  The cue ends with a brief statement of Schifrin’s main theme. 

The Torus, while not fully appearing in the film, is a great action cue.  Featuring several past themes (The Plot, Ethan’s theme, MI theme), the rhythm propels the track without being over the top or too busy.  The track stays under the radar until the last section where it has a strong finish.  The main themes get expertly mixed in again in Morocco Pursuit– a much stronger and highly energetic action cue. 

Grave Consequences returns us to the quieter, suspense-filled sound, with flute solos of MI theme and Lane’s theme making appearances.  A section of dissonance leads to a propulsive string section and Ethan’s theme.  Ethan’s theme starts off A Matter of Going, with a quiet reprise of Lane’s theme before one of the prominent versions of the Nessun Dorma theme for Ilsa. 

The Blenheim Sequence contains some nice variations of Schifrin’s theme and new harmonies attached to Ethan’s theme.  Starting quietly, Audience With the Prime Minister adds Lane’s sinister theme but rises for bold and exciting statements of the MI theme and Ethan’s theme.  This Is the End, Mr. Hunt* reprises several past themes (including plenty of statements of The Plot and Ethan’s theme) and crescendos to a big finish. 

A Foggy Night in London starts out as a strong action sequence for the film’s climax.  There are few fun percussion solos and thrilling brass and string writing.  Meet the IMF starts with a bold statement of the MI theme, and a rousing version of Ethan’s theme – now really representing the IMF itself.  It’s a short cue, but is effective.  Finale and Curtain Call recalls the Nessun Dorma theme and a classic reprise of the Mission: Impossible theme.  In a semi-suite, Kraemer returns to several bits of music heard earlier in the score before ending with one last Mission: Impossible theme.                     

It’s been a strong year for spy scores: Spy (Theodore Shapiro), The Man from UNCLE (Daniel Pemberton), Kingsman (Henry Jackman), and an upcoming Bond film.  Kraemer really delivers in this spy genre. Utilizing Schifrin’s material is a must, both Elfman and Giacchino handled it well.  Kraemer has it really woven into his score, and it sometimes blends in so well, it’s hard to tell where one composer ends and begins.  The opera scene in Vienna is set to the opera Turandot and Nessun Dorma (one of the most famous opera arias) is closely connected to the scene’s plot but it is interesting that Kraemer used Giacomo Puccini’s music as a leitmotif for Ilsa.  While it makes several appearances in the film, it never is too obtrusive. 

While Michael Giacchino’s score was big on musical action, Kraemer really gets the quieter moments in addition to the action set-pieces.  Many cues aren’t densely orchestrated, but have just enough momentum to keep it going.  It really is a thoughtfully crafted score, and it noticeable in the theaters, and even more so on the album. I hope this work brings Kraemer more success and more recognition.    

Quick Review: The Walk

October 12, 2015, 3:07 pm

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The Walk

Music composed by Alan Silvestri

Music conducted by Alan Silvestri

Music orchestrated by Mark Graham

Music recorded and mixed by Dennis Sands

Album running time: 57 minutes

Available on Sony Classical

Based on the real life daring high-wire walk of Philippe Petit, the film is based on the same book that became the Oscar winning documentary Man on Wire (2008). Always trying to seek technological innovations, director Robert Zemeckis uses IMAX 3D to put you in Petit’s (Joseph Gordon-Levitt) place.

It also marks the 15th film collaboration with director Zemeckis and Alan Silvestri that first started with Romancing the Stone (1984) and most recently on Flight (2012).

The score supports the film nicely, dividing itself with two main themes – one uplifting “Walk Theme”, the sweet “Philippe’s Theme” and the “Heist Theme”. The film and album almost divide evenly up with those themes. Here’s a rundown of the album.

We begin with Pourquoi?, setting a rising string pattern against a piano motif. This is the Walk Theme, setting the prologue up as Petit recounts his story to the audience. The music surges in an uplifting moment before the swing drum set takes over. While the shift is jarring, this jazz section sets up our lead character’s “Heist Theme” and time period. While the beginning section seems very close to Thomas Newman’s work or Silvestri’s own Cosmos, the jazz section sounds like nothing we’ve heard from Silvestri before.

Young Philippe starts off with the piano section of the Walk Theme before introducing us to the circus-like waltz (Philippe’s Theme) for Philippe’s early wire walking work. It’s a lovely tune for strings, accordion and mandolin and it appears in a few select sweet moments throughout the film. Two Loves reveals the romantic side, a gentle tune for solo clarinet, strings and accordion. The solo piano takes over the melody and brings the strings back to finish off the track. The Towers of Notre Dame bring us back to the French style of clarinet, accordion and mandolin before shifting back to the Heist Theme heard earlier. A grander variation of the Philippe Theme grows and expands in orchestration.

“It’s Something Beautiful” echoes the Walk Theme, this time with a weighted feel as a pulse continues in the background. The track closes on a brief reprise of Philippe’s Theme. This track in particular seems very close to his musical landscape of Cosmos. Spy Work is where the Heist Theme gets its full statement, and it’s a fun old-time spy sound. The gravity (pun intended) of his walk is shown in Full of Doubt. The chimes marks the reveal of the World Trade Center towers, with a somber tone in the strings and brass.

Time Passes starts with the usual Silvestri ostinato-style strings and snare drum leading the charge. As the Walk Theme arrives, we get a repetitive electronic ticking pattern that carries through the rest of the track. The Arrow brings some suspense with an ostinato in the low strings before transforming into a comic section. The snare drum and tremolo string writing will certainly sound familiar to Silvestri fans. The drama continues in “We Have a Problem”, as the action section is full of Silvestri goodness. Electronic elements accentuate the orchestra and certain parts sound almost like a mix of James Horner and patterns from Cosmos.

The Walk returns us to the music from Pourquoi and clearly utilizes the Walk Theme. Strings keep some of the high-wire tension by maintaining their high notes as the piano motif enters. Voices enter as even more delightful melodies emerge. “I Feel Thankful” begins with Beethoven’s Fur Elise on piano as Petit continues his walk with each step as graceful as this source music expands with the full orchestra. The action ostinato returns with fragmented phrases punctuated by timpani and snare drum. Our main Walk Theme appears again, alternating with the action section. While this long track seems to have so many abrupt changes on the album, it fits the drama of the film.

“They Want To Kill You” begins serenely with the piano motif before the pace quickens with a steady percussion section and electronic pattern. The strings and horn have a great moment halfway through, a great Silvestri moment. “There Is No Why” brings us back to our main theme, this time coming through the emotional journey musically as in Cosmos, Contact or even The Croods. This track is a great introduction to the score and the slight magic feel the score has. “Perhaps You Brought Them To Life - Given Them A Soul” continues in the same style as the previous track. We get an orchestral crescendo to a lush section with a reprise of the piano motif and Walk Theme. Emotionally gratifying, the swelling finale eventually fades away, as if in the wind.

Besides latching onto the emotional core of a scene, Silvestri gets you to really love a score by the end of the film (or album). At first listen, it’s a bit disjointed - the same way it is in the film. But once Petit is getting ready for the climb until the end, it’s a marvelous listening experience. And the film is that, an experience. Director Zemeckis crafted a fine film, full of dazzling shots and story through visual effects. If this movie ends up near awards season, I wouldn’t be surprised if the score gets some recognition. Silvestri fans will no doubt recognize some of his most done stylistic choices, including similarities with the previously mentioned Contact, Cosmos and Forrest Gump. If the French accordion music/circus music turns you away at the beginning of the album, keep listening – a stirring and moving score lies ahead.

Quick Review: Bridge of Spies

October 25, 2015, 7:06 pm

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Bridge of Spies

Music composed by Thomas Newman

Music conducted by Thomas Newman 

Music orchestrated by J.A.C. Redford

Music recorded at 20th Century Fox (Newman Scoring Stage)
Album running time: 48 minutes

Available on Hollywood Records

Seeing Thomas Newman as the composer at the end credits of a Steven Spielberg movie does feel strange. In their 4 decade history, The Color Purple (1985) and Bridge of Spies are the only films without a score by John Williams. Film score fans will immediately notice the stylistic differences, but I’m sure the casual viewer won’t notice. But how did Newman do in this venue? Here’s the album rundown.

While the beginning of the film has no original score, the album begins with Hall of Trade Unions, Moscow– a very brief cue with the Russian choir element in a very dire mood reminding us of location and Cold War time period. Sunlit Silence begins with a noble horn call with brass ensemble and snare drum entering. The rhythmic section afterwards is the most Newman-esque of the score. It follows with a serene string and woodwind piece – James Donovan’s theme. The theme expands to have that Americana sound and not just representing Donovan, but the American idealism. A piano appears with the strings is a rising and falling pattern. The warm string sound featured in many Newman scores shines through. Ejection Protocol sets the mood with solo low flute before the charging motif from the previous track takes over. We get a sense of urgency as stopped horns add a layer of dissonance.

Standing Man has an almost glassy atmosphere before the warm strings enter along with a woodwind choir. Rain brings us back to an urgent mood with charging strings and light percussion tapping over a wailing clarinet. A bleaker world is set up in Lt. Francis Gary Powers with an otherworldly sound and choir. The action picks up and drops off to feature vocalists.

The Article returns us back to the noble brass ensemble in a major key. The second half of the cue features dissonance and percussion. The Wall contains some darker choir moments this time in a mournful adagio in a powerful sequence as the Berlin Wall is built shutting Berlin apart. Private Citizen is a little wispy to start, before the piano comes in adding minor harmonies. The Impatient Plan is a brief cue maintaining a high tension with choir and sustaining strings. West Berlin has strings that swell as new intriguing elements are added in until we’re back to the charging motif heard earlier. Friedrichstraße Station begins with the piano pattern and charging motif, both heard earlier.

As the negotiations for Lt. Powers and accused spy Rudolf Abel ramp up, they meet at the Glienicke Bridge (the titular bridge of spies). It features a piano solo and has the orchestra have a stopping and starting feel. There is an uneasy quality to the orchestral swelling, as a solo clarinet or piano drop in intermittently. The tension continues to be high for the duration of the track with high strings sustaining. It is hard to tell where and when harmonies shift and it never settles on an even minor key, but keeping suspense with moving pedal tones and dissonance. The ensemble swells with military brass and percussion entering.

Homecoming brings the Americana and patriotic feel back to the score. The theme for Donovan returns in a touching piano solo and then for the most of the track. At this point the theme sounds familiar even though we hardly heard it in the score! This expansion of ideas suits this theme, an almost hymn-like melody. The oboe and English horn moments are purely Newman and make the track the sole standout of the album. Bridge of Spies (End Title) package some material from the film in a nice suite. Starting with the piano motif we transition into the charging string motif with an added Russian choir. James Donovan’s theme has a lengthy reprise as the album ends.

Bridge of Spies is an interesting film for a subject that hasn’t been covered much in films or television. Like Lincoln (2012) before it, it is mainly men sitting in backlit rooms and talking. The action in ‘Bridge’ is brief as the film relies on the tension of drama of the Cold War negotiations. Because of the talking, most of the film’s music stayed under the radar and rather quiet. There were a few orchestral moments near the end – namely the lovely Homecoming, but most of the score is dramatic underscore. The film might get a bit of the ole’ Spielberg sappiness near the end, something that the music doesn’t push too far. Perhaps it was Spielberg that got the long sustained cues out of Newman, who is known for his multiple short cues. In fact, the last three track lengths are a little longer than the rest of the album combined. (I could be wrong, but Glienicke Bridge might be Newman’s longest CD cue since Meet Joe Black)

We don’t know what John Williams would have done with this film, if he were able to score it. Thankfully Newman doesn’t imitate a Williams score but keeps at his distinct style. These compositional techniques are sometimes overused by Newman, but aren’t too obvious or apparent in this score. While it’s pretty typical to not appreciate a Thomas Newman album without seeing the film, this follows suit. The ideas don’t get a chance to really flourish until the last few tracks. If the first half of the album doesn’t suit you, keep listening – a Thomas Newman score has a way of sneaking up on you.       

Scoring the Series: James Bond

November 4, 2015, 4:55 pm

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As we celebrate the release of the 24th James Bond film - Spectre, here is a guide to the scoring of each Bond film with a few scoring photos tossed in.   

Dr. No (1962)
Music composed by Monty Norman
[James Bond Theme played by John Barry & Orchestra]
Conducted by Eric Rodgers
Recorded CTS Bayswater, England - June 1962

From Russia With Love (1963)
Music composed by John Barry
Conducted by John Barry
Recorded CTS Bayswater, England - March 1963

Goldfinger (1964)
Music composed by John Barry
Conducted by John Barry
Recorded CTS Bayswater, England - July 1964

Thunderball (1965)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Bayswater, England - October 1965

You Only Live Twice (1967)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Bayswater, England - April 1967

On Her Majesty's Secret Service (1969)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Bayswater, England - October 1969

Diamonds Are Forever (1971)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Bayswater, England - October 1971

Live and Let Die (1973)
Music composed by George Martin
Conducted by George Martin
Recorded at AIR Studios, England - April 1973

The Man with the Golden Gun (1974)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Wembley, England - October 1974

The Spy Who Loved Me (1977)
Music composed by Marvin Hamlisch
Conducted by Marvin Hamlisch
Recorded at AIR Studios, England - April 1977

Moonraker (1979)
Music composed by John Barry
Conducted by John Barry
Recorded at Studio Davout, Paris - April 1979

For Your Eyes Only (1981)
Music composed by Bill Conti
Conducted by Bill Conti
Orchestrated by Peter Myers
Recorded at Music Centre Wembley, England

Octopussy (1983)
Music composed by John Barry
Conducted by John Barry
Recorded at Music Centre Wembley, England

A View to a Kill (1985)
Music composed by John Barry
Conducted by John Barry
Orchestrated by Nic Raine
Recorded at CTS Wembley, England - March/April 1985

The Living Daylights (1987)
Music composed by John Barry
Conducted by John Barry
Recorded at CTS Wembley, England

Licence to Kill (1989)
Music composed by Michael Kamen
Conducted by Michael Kamen
Performed by the National Philharmonic Orchestra

GoldenEye (1995)
Music composed and performed by Eric Serra
Arrangement/additional music by John Altman
Conducted by John Altman
Symphony recorded at Angel Studios, England

Tomorrow Never Dies (1997)
Music composed by David Arnold
Conducted by Nicholas Dodd
Orchestrated by Nicholas Dodd
Recorded at AIR Lyndhurst, England

The World is Not Enough (1999)
Music composed by David Arnold
Conducted by Nicholas Dodd
Orchestrated by Nicholas Dodd
Recorded at AIR Lyndhurst, England

Die Another Day (2002)
Music composed by David Arnold
Conducted by Nicholas Dodd
Orchestrated by Nicholas Dodd
Recorded at AIR Lyndhurst, England

Casino Royale (2006)
Music composed by David Arnold
Conducted by Nicholas Dodd
Orchestrated by Nicholas Dodd
Recorded at AIR Lyndhurst, England

Quantum of Solace (2008)
Music composed by David Arnold
Conducted by Nicholas Dodd
Orchestrated by Nicholas Dodd
Recorded at AIR Lyndhurst, England

Skyfall (2012)
Music composed by Thomas Newman
Conducted by Thomas Newman
Orchestrated by JAC Redford, Steven Bernstein, Peter Boyer, Carl Johnson
Recorded at Abbey Road, England

Spectre (2015)
Music composed by Thomas Newman
Conducted by Thomas Newman
Orchestrated by JAC Redford
Recorded at Abbey Road Studios, England

Scoring the Series: Back to the Future

November 24, 2015, 7:50 pm

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As we celebrate the 30th anniversary of Back to the Future in 2015, here is a guide to the scoring of each film with a few scoring photos tossed in.   

Back to the Future (1985)
Music composed by Alan Silvestri
Conducted by Alan Silvestri
Orchestrator: James B. Campbell
Music Editor: Kenneth Karman
Recorded and Mixed by: Dennis Sands
Recorded at Burbank Studios (Warner Bros), May-June 1985

Back to the Future Part II (1989)
Music composed by Alan Silvestri
Conducted by Alan Silvestri
Orchestrator: James B. Campbell
Music Editor: Kenneth Karman
Engineer: Dennis Sands
Recorded at Burbank Studios (Warner Bros), September-October 1989 & Lorimar (Sony), November 1989

Back to the Future Part III (1990)
Music composed by Alan Silvestri
Conducted by Alan Silvestri
Orchestrator: James B. Campbell
Music Editor: Kenneth Karman
Recorded and Mixed by: Dennis Sands
Recorded at Burbank Studios (Warner Bros), March-April 1990

With the original Back to the Future, the "Outatime Orchestra" (seen below) was the largest orchestra to perform on a Universal film.  Scoring pictures from the 1985 sessions are below.    

Spotlight On...The Hunger Games

November 30, 2015, 6:09 pm

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The newest Spotlight On takes a look back at the Hunger Games franchise.
Let's take a look back on the Hunger Games films score by score, and may the odds be ever in your favor. 

The Hunger Games (2012)
Music by James Newton Howard
With the first film in the franchise, the score became a collaboration between James Newton Howard, Arcade Fire and T-Bone Burnett.  In the end, most of the score remained forgettable with two notable exceptions: the Capitol fanfare (Horn of Plenty), and Rue’s Farewell.  The latter composed by Howard has become the de facto emotional/rebellion theme for the film series.  Many parts of the score incorporate a folk/Appalachian sound, with rough electronics and percussion added for the actual games.  The identity and use of score thankfully improve in each film.  (Just listen to: The Train, Horn of Plenty, Rue’s Farewell, Tenuous Winners/Returning Home) 

The Hunger Games: Catching Fire (2013)
Music by James Newton Howard
In this sequel, Howard has some reprises and expansions of the past themes.  Rue’s Farewell and Horn of Plenty show up throughout the score, in addition to a new love theme.  The score contains plenty of ambient sounds and a better grasp on the action music.  (Just listen to: Katniss, I Need You, Arena Crumbles)

The Hunger Games: Mockingjay - Part 1 (2014)
Music by James Newton Howard
Howard nicely reflects the moody atmosphere even more in this sequel score.  Here he builds upon previous themes, while capturing new emotions with violin and female vocal solos.  The best new addition is The Hanging Tree (not written by JNH) but adapted and incorporated throughout.  Easily the strongest of the scores.  (Just listen to: District 12, The Arsenal, The Hanging Tree, Air Raid Drill, District 8 Hospital)

The Hunger Games: Mockingjay - Part 2 (2015)
Music by James Newton Howard
Continuing the darker tone, the score adds more emotional beats through solo performances and the action material works well.  We get a few emotional reprises of past themes - Rue’s Farewell and the Deep in the Meadow lullaby heard in the first film.  It’s another strong JNH score and a great way to end this set of films.  (Just listen to: Prim Visits Peeta, Sewer Attack, Primrose, There Are Worse Games To Play/Deep In The Meadow/The Hunger Games Suite)

Check out the others in the SPOTLIGHT ON.... SERIES!

Spotlight On Series: Harry Potter, Batman, James Bond, Star Trek, Marvel, Pixar, X-Men, Spider-Man, Superman, Jack Ryan, Transformers, Die Hard, Planet of the Apes

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Screen Credit Quiz! (Christmas Edition)

December 7, 2015, 3:30 pm

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It's time for a Screen Credit Quiz!  This time, it's that jolly time of the year for the Christmas Edition!  All these films represented are Christmas films from Christmas past and Christmas present.  Enjoy! 

Put your guesses in the comments! And have fun!!

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Bonus for you real movie buffs:

Scoring the Series: Star Wars

December 18, 2015, 5:00 pm

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As we celebrate the release of the Star Wars: The Force Awakens, here is a guide to the scoring of each Star Wars film with a few scoring photos tossed in.   

Star Wars Episode IV - A New Hope (1977)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer, Angela Morley, Arthur Morton, Albert Woodbury
Music Editor: Kenneth Wannberg 
Music Scoring Mixer: Eric Tomlinson
Music Supervisor: Lionel Newman
Performed by London Symphony Orchestra
Recorded at Anvil Scoring Stage, Denham, England - March 1977

Star Wars Episode V - The Empire Strikes Back (1980)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer
Music Editor: Kenneth Wannberg
Music Scoring Mixer: Eric Tomlinson
Music Supervisor: Lionel Newman
Performed by London Symphony Orchestra
Recorded at Anvil Scoring Stage, Denham, England - December 1979-January 1980

Star Wars Episode VI - Return of the Jedi (1983)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer
Music Editor: Kenneth Wannberg
Music Scoring Mixer: Eric Tomlinson
Music Supervisor: Lionel Newman
Performed by London Symphony Orchestra
Recorded at Abbey Road Studios, London - January-March 1983

Star Wars Episode I - The Phantom Menace (1999)
Music composed by John Williams
Conducted by John Williams
Orchestrator: John Neufeld, Conrad Pope, Eddie Karam
Music Editor: Kenneth Wannberg
Music Scoring Mixer: Shawn Murphy
Performed by London Symphony Orchestra
Recorded at Abbey Road Studios, London - February, 1999

Star Wars Episode II - Attack of the Clones (2002)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Conrad Pope, Eddie Karam
Music Editor: Kenneth Wannberg
Music Scoring Mixer: Shawn Murphy
Performed by London Symphony Orchestra
Recorded at Abbey Road Studios, London - January 2002

Star Wars Episode III - Revenge of the Sith (2005)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Conrad Pope, Eddie Karam
Music Editor: Kenneth Wannberg
Music Scoring Mixer: Shawn Murphy
Performed by London Symphony Orchestra
Recorded at Abbey Road Studios, London - February 2005

Star Wars: The Force Awakens (2015)
Music composed by John Williams
Conducted by John Williams, William Ross
Orchestrator: John Williams, William Ross, Gustavo Dudamel
Music Editor: Ramiro Belgardt
Music Scoring Mixer: Shawn Murphy
Performed by Hollywood Studio Symphony
Recorded at Sony Scoring Stage

Quick Review: Star Wars: The Force Awakens

December 24, 2015, 11:00 am

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Star Wars: The Force Awakens
Music composed by John Williams
Music conducted by John Williams
Additional conducting by William Ross, Gustavo Dudamel
Music orchestrated by John Williams, William Ross
Music recorded at Sony Scoring Stage
Album running time: 77 minutes
Available on Walt Disney Records

Continuing what he started in 1977, John Williams returns with Star Wars: The Force Awakens. Now the seventh episode in the Star Wars universe, Williams continues his multitudes of themes and builds on ones we’ve heard before.

In this review, I plan on going through the Original Soundtrack track by track and highlighting thematic material. While you probably wouldn’t read this without seeing the film in advance, I will do my best to be spoiler-free.

For returning themes, we get the Force Theme, Luke’s Theme (Main Titles), Leia’s Theme, Han Solo and the Princess and even the Rebel Fanfare motif. For new themes, we get Rey’s Theme, the villainous Kylo Ren’s Theme, Finn and Poe’s Theme and a new march for our heroes – March of the Resistance. You can find 3 new concert arrangements of his material on the album: Rey’s Theme, March of the Resistance and Scherzo for X-Wings.

Starting with Main Title and the Attack on the Jakku Village, the orchestration and performance does seem different to the previously recorded versions but that is to be expected with a new orchestra and scoring location. As the titles transition into the Attack, we start with menacing brass, charging strings and some great trumpet flourishes. After a softer string section, the menace returns before the entrance of Kylo Ren’s Theme. The action writing in this track certainly harkens back to his original trilogy scores but even some new styles heard in the prequel scores.

The Scavenger begins with a plaintive English horn solo which feels like a callback to the Dune Sea music from A New Hope. A flute solo introduces the first part of Rey’s Theme (heard in several variations throughout the track). The piano intro has a wistful nature to it before opening up to a full orchestral statement of Rey’s Theme which appears stronger and more willful with each variation. The flute returns again under strings and harp to close out the track. I Can Fly Anything picks up with a rollicking rhythm, more trumpet flourishes, classic Williams bass drum/cymbal crashes and a bold statement of Poe Dameron’s heroic theme.

Rey Meets BB-8 is a gentle cue, almost magical and warm with the orchestration used. Follow Me leads with some clarinet solos before being launched into a great action sequence. Finn’s rhythmic motif leads the majority of the track, before a cameo of the Rebel Fanfare ends the cue. The concert suite, Rey’s Theme is not only the standout theme of the film, it’s also a delightful highlight of the album. The theme is worthy of this expanded arrangement, and will probably be making the rounds of concert performance in addition to the other 2 concert suites on the album.

The Falcon jumps right into the frenetic action with charging strings and another quote of the Rebel Fanfare (seemingly linked to the Millennium Falcon in the film). Finn’s motif gets added into the fray with strong trumpet lines, matching any of the action cues heard in the original trilogy. That Girl with The Staff features an almost hidden reprise of Rey’s Theme before getting into the intense darkness and suspense of the rest of the cue.

Suspense continues in The Rathtars!. Among some of the darker moments, Williams uses racing strings, spinning strings and the percussion ratchet as a musical sound effect. Luke’s Theme makes an appearance as well as Finn’s action motif and ends with a heroic Rebel Fanfare. Finn’s Confession gives the action a rest, and features a lovely warm sound from solo horn and strings with an appearance of Rey’s Theme.

Maz’s Counsel contains a bit more mystery with a solo horn playing the film’s first arrival of the Force Theme. At the very end, Rey’s Theme gets a hurried and intense variation. TheStarkiller is an emotional piece, similar to some from Revenge of the Sith, focusing on the string section. Kylo Ren Arrives at the Battle returns us to the menacing and sinister Dark Side sounds heard in the opening. Obviously Kylo’s Theme is prominent, with Rey’s Theme appearing on English horn at the close. The Dark Side continues in The Abduction. Among low brass and shrill strings, we see some of the darkest moments in the score. Some striking variations of Kylo and Ren’s Themes appear in this track. Han and Leia brings us a soft flute reprise of Leia’s Theme and a tender reprise of Han Solo and the Princess (their love theme underutilized in both Empire and Jedi). The mood changes with the introduction of the Resistance March, a semi-fugue introduced in the horns. The romantic love theme has another brief reference before adding in a very solemn Force Theme.

March of the Resistance, the next concert suite arrangement of the Resistance theme is infectious and worthy of several listens. The bass choir in Snoke has an otherworldly sound, with Williams adapting a poem into Sanskrit (as he had done for Duel of the Fates in Phantom Menace). On the Inside returns us back into a suspense mode, almost hushed at times until we hear the large brass sounds of Kylo Ren’s Theme. Torn Apart is an emotional cue, with emphasis on the strings and low brass. The crescendo midway leads to a slow moving elegy before pitting Kylo’s Theme against a somber Rey’s Theme with the Force Theme making another appearance.

The Ways of the Force continue the matching of themes, the Force Theme under swirling strings, completely flipped orchestration of Rey’s Theme in an action setting with Kylo’s Theme still menacing. The Force Theme makes some more strong appearances and Rey’s Theme has yet more variations in orchestration. Scherzo for X-Wings (and yes the title is fitting) has some fanfare-like features, similar to what Williams did for The Adventures of Tintin (2011). Luke’s Theme gets passed around almost joyfully throughout the cue with slight variants each time.  A greatly fun piece.

Farewell and the Trip is a lovely mixture of Williams’ thematic glossary. Beginning with a determined reprise of Rey’s Theme, it quickly goes into the Force Theme, Han Solo and the Princess, Leia’s Theme. Luke’s Theme also merges with Rey’s Theme, which closes out the track. The Jedi Steps and Finale continue the combined feel of Rey’s Theme and Luke’s Theme. The Force Theme gets the sweeping rendition (or Binary Sunset) we’ve heard in previous films. It crescendos to the “iris in” and leads into the same end title music we’ve heard for each episode. For the credit suite, we hear reprises Rey’s Theme, Kylo Ren’s Theme, Finn’s action motif with an overlay of Poe’s Theme, March of the Resistance, a combination of the Force Theme and Rey’s Theme. One last reprise of Luke’s Theme on celeste ends the credits and the album.                

What John Williams has created with The Force Awakens is a solid score worthy of the Star Wars legacy.  It's amazing that John Williams has been continuing with this franchise since 1977. The bar was set incredibly high with the original trilogy - continually showing up on critics and the public's favorite scores. All three original trilogy scores were Oscar nominees, with only A New Hope taking the prize. In 1999, he returned to the franchise with the prequel trilogy. While the films are often maligned, the scores felt very connected musically.  With The Force Awakens, it's the first without director/creator George Lucas, but clearly Williams was able to tap back into that Star Wars mode.  

His new themes are artfully crafted and balanced throughout the film.  On album, you can hear the slight changes to Rey's theme as she goes through her story.  His last few films were very introspective and he brought that same touch to the Star Wars universe, letting us get to know the new generation of characters musically.  Even with changes like change of director, health issues, long recording process and JJ Abrams’ editing style was able to produce an exceptional score.  He should also receive high marks for a strong album presentation – 77 minutes in almost complete chronological order (compared to the prequels confusing order).  While there is a bunch of unreleased music (some more can be heard on Disney’s For Your Consideration website), the album features the bulk of the score from the highest action sequences to the emotional core.   

2015 Original Score Awards Roundup

January 11, 2016, 9:30 am

≫ Next: Album Review: The Hateful Eight

≪ Previous: Quick Review: Star Wars: The Force Awakens

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Here's the 2015 Roundup of Original Score nominations and winners from various associations. Winners will be marked in red and updated regularly!


ACADEMY AWARD
BEST ORIGINAL SCORE
Bridge of Spies (Thomas Newman)
Carol (Carter Burwell)
The Hateful Eight (Ennio Morricone)
Sicario (Jóhann Jóhannsson)
Star Wars: The Force Awakens (John Williams)

GOLDEN GLOBE
BEST ORIGINAL SCORE 
Carol (Carter Burwell)
The Danish Girl (Alexandre Desplat)
*The Hateful Eight (Ennio Morricone)
Steve Jobs (Daniel Pemberton)
The Revenant (Ryuichi Sakamoto, Alva Noto)

BRITISH ACADEMY FILM AWARDS (BAFTA)
Bridge of Spies (Thomas Newman)
The Hateful Eight (Ennio Morricone)
The Revenant (Ryuichi Sakamoto, Alva Noto)
Sicario (Jóhann Jóhannsson)
Star Wars: The Force Awakens (John Williams)

ANNIE AWARDS
BEST MUSIC IN AN ANIMATED FEATURE PRODUCTION
Anomalisa (Carter Burwell)
Batman Unlimited: Monster Mayhem (Kevin Riepl)
Boy and the World (Ruben Feffer, Gustavo Kurlat)
Inside Out (Michael Giacchino)
The Good Dinosaur (Mychael Danna, Jeff Danna)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE
Carol (Carter Burwell)
The Danish Girl (Alexandre Desplat)
Inside Out (Michael Giacchino)
The Martian (Harry Gregson-Williams)
Spectre (Thomas Newman)
Spotlight (Howard Shore)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE
*Anomalisa (Carter Burwell) & Carol (Carter Burwell)
Runner Up: The Hateful Eight (Ennio Morricone)

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC IN A FILM
The Hateful Eight (Ennio Morricone)
Love & Mercy
Mad Max: Fury Road (Tom Holkenborg)
Sicario (Jóhann Jóhannsson)
Straight Outta Compton

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
*Sicario (Jóhann Jóhannsson)

BOSTON SOCIETY OF FILM CRITICS
BEST USE OF MUSIC IN A FILM
*Love & Mercy

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE
*The Hateful Eight (Ennio Morricone)

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE
*The Revenant (Ryuichi Sakamoto, Alva Noto, Bryce Dessner)

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE
Inside Out (Michael Giacchino)
Mad Max: Fury Road (Tom Holkenborg)
The Hateful Eight (Ennio Morricone)
Steve Jobs (Daniel Pemberton)
The Revenant (Ryuichi Sakamoto, Alva Noto, Bryce Dessner)

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE
*The Hateful Eight (Ennio Morricone)

LONDON CRITICS CIRCLE FILM AWARDS
TECHNICAL ACHIEVEMENT (FOR MUSIC)
*Carol (Carter Burwell)

CRITICS CHOICE AWARDS
BEST SCORE
Carol (Carter Burwell)
*The Hateful Eight (Ennio Morricone)
The Revenant (Ryuichi Sakamoto, Alva Noto)
Sicario (Jóhann Jóhannsson)
Spotlight (Howard Shore)

SATURN AWARDS
BEST MUSIC
[nominees TBA]

Album Review: The Hateful Eight

January 15, 2016, 5:19 pm

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≪ Previous: 2015 Original Score Awards Roundup

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The Hateful Eight
Music composed by Ennio Morricone
Music conducted and orchestrated by Ennio Morricone
Music performed by Czech National Symphony Orchestra
Music recorded at CNSO Recording Studios, Prague
Album running time: 72 minutes
Available on Decca Records

Ennio Morricone has a history with Quentin Tarantino, even if Morricone wasn't involved for most of it.  As an ultimate fanboy, Tarantino's soundtracks for Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004),  Death Proof segment of Grindhouse (2007), Inglourious Basterds (2009) and Django Unchained (2012).  It was also for 'Django' that Morricone wrote the original song, "Ancora Qu" and said he wouldn't work with Tarantino again (which was later recanted).  For The Hateful Eight, Tarantino looked to Morricone to write an original score to his Western, and he accepted.

The film became a first for Tarantino - first it's shot in the expansive 70mm, and second, has an original score, not just a hand-picked mixtape.  The resulting album for The Hateful Eight contains all of Morricone's original score, a few pop songs, plus separate tracks of dialogue.  In this review, I'll only be covering the original score tracks.

The bulk of the score is based on two original themes, and many album tracks are derived from these melodic ideas.  And yes, track names are in Italian. 

L'ultima diligenza di red rock builds a bassoon motif (Main Theme, for easy reference) over held notes both quite low and quite high.  It sets the tone of distant violence amid a stark winter backdrop.  The repetitive pattern gets more instruments added to it as the dissonance grows.  A male choir joins in, as the woodwinds add a swirling motif to the mix.  It almost could pass as a horror/Godzilla-like cue by the end.  Overture is a slow build, with bells and low strings in a Herrmann-esque hypnotic ostinato (Second Theme).  A new melodic idea gets passed around in solo woodwinds as low brass continue to creep in.  A brief reference to the Main Theme bassoon motif from the last cue ends the track.  Narratore letterario continues the hypnotic bells, with the Main Theme added in,  stabs of tremolo strings and brass jabs add another texture into this track.  

L'ultima diligenza di red rock #2 continues the thematic material of the first track, building to a larger climax.  Neve explores more of the eerie sustained string and woodwind writing in this lengthy track.  Hints of past motifs appear in various forms with the hypnotic Second Theme qualities taking full form.  Sei cavalli brings the timpani and brass jabs to the forefront with dissonant brass added in.  Raggi di sole sulla montagna changes the tone from previous tracks, an almost impressionistic cue for woodwinds and strings which gives me reminders of Ravel.  Neve #2 continues another slow sustained strings build on the Second Theme with the Main Theme appearing in the foreground and background of the cue.

I quattro passeggeri brings back the Main Theme on bassoon and the tapping high hat cymbal heard  earlier plays over a pizzicato string section.  La musica prima del massacro breaks apart the aspects of Main Theme and Second Theme in a slower (still eerie) arrangement.  L'inferno bianco (Synth) is full of nervous energy and builds tension on some repetitive figures.  The way he uses pizzicato strings as a pseudo-percussion instrument is interesting.

Sangue e neve returns us to the Second Theme with a building string section on the Main Theme.  This variation is more intense and quickly drops off at the end.  Hope you liked the earlier track, because L'inferno bianco (Ottoni), is the brass version of the same cue.  Neve #3 is not too far from the Neve material heard earlier, a slow manipulation of both Second and Main Theme with a low string petal point.  La lettera di lincoln appears in 2 versions, instrumental and with dialog.  The brass writing is fitting for the reading of Lincoln's letter held by Major Warren (Samuel L. Jackson). The trumpet solo is naturally noble and feels like a cousin of the trumpet tune "Taps".  The album ends with La puntura della morte, a brief (!) string crescendo that is used earlier in the film.   
                          
When originally tasked, Morricone wrote the longer cues and promised to provide the themes that Tarantino wanted.  It's clear that these themes are the backbone of the score, with most tracks on the album breaking apart and adding slight variations to the themes.  While not incorporated on the album, Tarantino turned to other (previously written) Morricone cues to add into the final film.  Those include "Regan's Theme" from The Exorcist II: The Heretic (1977), and "Eternity", "Bestiality", and "Despair" from Morricone's unused score to The Thing (1982).

Giving something different than the Western scores he composed 40-plus years ago, Morricone composed a tense and evocative score. As noted before, the film result is a bit different than on the album, which might be a little difficult to make through.  As his 6th Academy Award nomination for Original Score at the age of 87, he has his best chances of winning in the category. (Sidebar: he won a Honorary Award in 2007 for his career in film music.)  

Tarantino, the Morricone fanboy, finally got his original score he was looking for, and the Morricone fanboys got a brand Western new score to admire.  Seems like a good deal to me.       

2016: Top Anticipated Scores

January 22, 2016, 2:58 pm

≫ Next: Screen Credit Quiz! (Decade Edition 3)

≪ Previous: Album Review: The Hateful Eight

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It's always fun to look into what films and scores are on the horizon.  2016 is chock full of sequels and more superhero films than you can catch in one summer.  Let's see what's on the radar for a bunch of composers!  Here's the list:   

The Music Behind the Screen's 

Top Anticipated Scores of 2016. 

1. Alice Through the Looking Glass (Danny Elfman)

One of Elfman's greatest recent highlights was the first Alice in 2010. If this comes close to that score, this will be one of his best.    

2. The BFG (John Williams)

After passing on Bridge of Spies, Williams plans to return with Spielberg for this Roald Dahl adaptation.  Williams has succeeded with several of his past fantasy scores, so this could be no different.

3. The Magnificent Seven (James Horner)

Upon his tragic passing, it was announced that Horner had written a surprise score for Antoine Fugua's remake.  Hard to know what from the score will be used, but this is one last treasure from Horner to hear. 

   

4. Rogue One: A Star Wars Story (Alexandre Desplat)

A Star Wars spinoff without John Williams.  Who knows what we'll hear?!  Let's see what Desplat creates.  

5. Star Trek Beyond (Michael Giacchino)

While Into Darkness might not have been everyone's favorite, Giacchino expanded his Star Trek world, and will hopefully continue the action adventure in the newest installment.

6. Finding Dory (Thomas Newman)

Really unsure how this sequel to 2003's Finding Nemo will go, but I'm happy to see Newman's name listed as composer.  His entry back into the underwater Pixar world is something I can't wait to hear.  

OTHER SCORES TO HEAR IN 2016

Batman v Superman: Dawn of Justice (Hans Zimmer, Junkie XL)

Captain America: Civil War (Henry Jackman)

Doctor Strange [no composer announced]

Fantasic Beasts and Where to Find Them [no composer announced]

 Ghostbusters (Theodore Shapiro)

Hail Caesar! (Carter Burwell)

The Huntsman: Winter’s War (James Newton Howard)

Inferno (Hans Zimmer)

The Jungle Book (John Debney)

Kung Fu Panda 3 (Hans Zimmer)

Moana (Mark Mancina)

The Secret Life of Pets (Alexandre Desplat)

Star Trek Beyond (Michael Giacchino)

X-Men: Apocalypse (John Ottman)

Zootopia (Michael Giacchino)

Screen Credit Quiz! (Decade Edition 3)

February 2, 2016, 11:00 am

≫ Next: Composer Cameos #5

≪ Previous: 2016: Top Anticipated Scores

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In this Screen Credit Quiz, each one is from a different decade (from the 1940's to 2010's).   
Here's what to do: name the film by the title card and put your guesses into the comment section!

1. 1940's

2. 1950's

3. 1960's

4. 1970's

5. 1980's

6. 1990's

7. 2000's

8. 2010's

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Composer Cameos #5

February 11, 2016, 1:00 pm

≫ Next: Scoring the Series: Indiana Jones

≪ Previous: Screen Credit Quiz! (Decade Edition 3)

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Let's keep the Composer Cameos coming!  Hard to believe, but we're on the 5th post of Composer Cameos! This time including the multiple appearances of Howard Shore on SNL and Marc Shaiman as the pianist in every movie! 

(Find the previous posts here: #1, #2, #3, #4)

JOHN ADDISON

Addison conducts in Phantom of the Opera (1990 TV movie)

BURT BACHARACH

Bacharach serenades in Austin Powers: International Man of Mystery (1997)

Bacharach makes an end credit appearance in Austin Powers in Goldmember (2002)

NICK CAVE

Nick Cave sings in The Assassination of Jesse James by the Coward Robert Ford (2007)

ALEXANDER COURAGE

Courage conducts for Pavarotti in Yes, Giorgio (1982)

PATRICK DOYLE

Doyle sings and plays in the British TV series, No 73 (1982-1983)

Patrick Doyle as "Policeman in lift" in Dead Again (1991)

Doyle as Amiens in As You Like It (2006)

Doyle gets animated in Brave (2012)

DANNY ELFMAN

Elfman performs as part of Oingo Boingo in Back to School (1985)

MURRAY GOLD

Series composer Gold performs in the band in a 2007 episode of Doctor Who (with the mustache)

JAMES NEWTON HOWARD

JNH plays keyboard for Elton John Live in Central Park (1981)

BEAR MCCREARY

Series composer McCreary appears in the background of an episode of Battlestar Galactica (2009)

MARK MOTHERSBAUGH

Mothersbaugh in one of his several appearances on Yo Gabba Gabba!

BLAKE NEELY

Series composer Neely plays piano in an episode of Eastwick (2009)

RANDY NEWMAN

Newman lends his voice to The Singing Bush for ¡Three Amigos! (1986)

TREVOR RABIN

Rabin is part of the band in Jack Frost (1998)

MARC SHAIMAN

Shaiman plays piano in Beaches (1988)

Shaiman (and a great mustache) conduct in The Addams Family (1991)

Shaiman accompanies on piano in Hot Shots! (1991)

Shaiman plays piano in Scenes from a Mall (1991)

Shaiman plays piano in The Wedding Planner (2001)

Shaiman is delightfully cheesy in Down With Love (2003)

Shaiman plays piano in an episode of Smash (2012)

THEODORE SHAPIRO

Shapiro (in blue) is part of the band in Along Came Polly (2004)

HOWARD SHORE

Shore and Lily Tomlin perform as part of The All Nurse Band on SNL (1975)

Shore performs as part of Howard Shore and the All Angel Band on SNL (1975)

Shore (L) performs as part of the All Bee Band on SNL (1976)

Shore (r) and Paul Shaffer perform as Dr. Frankenstein and the All Monster Band on SNL (1976)

MARK SNOW

Series composer Snow appears (l) as a doctor on an episode of X-Files (2001)

DIMITRI TIOMKIN

Tiomkin appears on an episode of What's My Line (1956)

PAUL WILLIAMS

Songwriter Williams appears as El Sleazo Pianist in The Muppet Movie (1979)

Scoring the Series: Indiana Jones

February 29, 2016, 3:00 pm

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≪ Previous: Composer Cameos #5

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Scoring The Series continues with a look back at the Indiana Jones series.  Here are the credits to each film with some scoring photos tossed in.   

Raiders of the Lost Ark (1981)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer, Al Woodbury
Music Editor: Kenneth Wannberg
Recording Engineer: Eric Tomlinson
Recording Supervisor: Lionel Newman 
Performed by the London Symphony Orchestra
Recorded at Anvil Recording Studios, London; Abbey Road Studios, London

Indiana Jones and the Temple of Doom (1984)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer
Music Editor: Kenneth Wannberg, Alexander Courage
Music Scoring Mixer: Lyle Burbridge 
Recorded at Sony Scoring Stage

Indiana Jones and the Last Crusade (1989)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Herbert W. Spencer, Alexander Courage
Music Editor: Kenneth Wannberg
Music Recorded: Dan Wallin 
Recorded at Lorimar Studios (Sony Scoring Stage)

Indiana Jones and the Kingdom of the Crystal Skull (2008)
Music composed by John Williams
Conducted by John Williams
Orchestrator: Conrad Pope, Edward Karem
Music Editor: Ramiro Belgardt
Music Recorded and Mixed: Shawn Murphy
Recorded at Sony Scoring Stage

Below: first five photos from "Last Crusade", others are from "Crystal Skull"

Scoring the Series: The Lord of the Rings

March 9, 2016, 1:09 pm

≫ Next: Top 10 Scores Turning 30 in 2016

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Scoring The Series continues with a look back at The Lord of the Rings trilogy.  Here are the credits to each film with some scoring photos tossed in.   

The Fellowship of the Ring (2001)
Music composed by Howard Shore
Conducted by Howard Shore
Orchestrator: Howard Shore
Recording Engineer: John Kurlander
Scoring Mixer: Peter Cobbin
Music Editors: Suzana Peric, Nancy Allen, Simon Kiln, Andrew Dudman, Michael Price, Jennifer Dunnington
Performed by the London Philharmonic Orchestra, New Zealand Symphony Orchestra
Choir Performed by The London Voices, The London Oratory School Schola
Recorded at Colosseum-Watford, Air Lyndhurst-London, Abbey Road Studios-London, Wellington Town Hall-New Zealand

The Two Towers (2002)
Music composed by Howard Shore
Conducted by Howard Shore
Orchestrator: Howard Shore
Recording Engineer: John Kurlander
Score Mixer: Peter Cobbin
Music Editors: Michael Price, Andrew Dudman, Steve Price, Mark Willsher, Raphael Mouterde, John Wriggle, Jonathan Schultz, Becca Gatrell, Tim Starnes, Malcolm Fife, Nigel Scott, Simon Kiln
Performed by the London Philharmonic Orchestra
Choir Performed by The London Voices, The London Oratory School Schola
Recorded at CTS Colosseum-Watford, Abbey Road Studios-London, Air Lyndhurst-London, Henry Wood Hall-London

The Return of the King (2003)
Music composed by Howard Shore
Conducted by Howard Shore
Orchestrator: Howard Shore
Recording Engineer: John Kurlander
Score Mixer: Peter Cobbin
Music Editors: Johnathan Schultz, Tim Starnes, John Wriggled, Michael Price, Andrew Dudman, Steve Price, Becca Gatrell, Malcolm Fife, Marie Ebbing, Nigel Scott
Performed by the London Philharmonic Orchestra
Choir Performed by The London Voices, The London Oratory School Schola
Recorded at CTS Colosseum-Watford, Abbey Road Studios-London, Air Lyndhurst-London

Top 10 Scores Turning 30 in 2016

March 29, 2016, 12:55 pm

≫ Next: Top 10 Scores Turning 20 in 2016

≪ Previous: Scoring the Series: The Lord of the Rings

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Time to take a look back at the musical score time machine and see what I consider some of the best from the year 1986.  So here is my list of the 10 Best Scores Turning 30!

Let's start the ranking!

10. The Three Amigos (Elmer Bernstein)

Bernstein had several straight-faced comedies in the 1980s, this one a riff of the many 1960s Westerns he scored.  It's not often composers get to write a parody score of one of their own score/styles.  Throw in the over the top Randy Newman tunes and you've got a new classic.   

9. Platoon (Georges Delerue)

While the standout of the film is Samuel Barber's Adagio for Strings, Delerue offered his own similar version and more that wasn't used in the film.  Thankfully his (mainly unused) score was released on album.

8. The Great Mouse Detective (Henry Mancini)

A generally forgotten Disney film (shortly before the animation renaissance), Mancini's first animated film features plenty of mickey-mousing, a heroic main theme, love theme and decent songs.

7. Labyrinth (Trevor Jones)

While generally overshadowed by David Bowie's songs, Jones' synth score is seeping with pure magical 1980s sound.  

6. The Fly (Howard Shore)

For this Croenenberg film, Shore turned to a large operatic orchestral style.  Utilizing an atonal sound, he vamps up the horror and romantic aspects.  Years later, Shore turned The Fly into an actual opera. 

5. An American Tail (James Horner)

Somewhere Out There may be the takeaway hit theme/song for the film, but the rest of the score has a lush orchestral sound, exciting melodies and a strong Russian influence.

4. Star Trek IV: The Voyage Home (Leonard Rosenman)
One of the lighter Star Trek scores, Rosenman brought a heroic and very cheerful sound to the franchise.  While not necessarily fitting the mold of previous or future scores, it remains a well written, lighthearted score.   

3. Hoosiers (Jerry Goldsmith)
A strong sports score, featuring a strong main theme mixed well with the electronic elements.  The use of themes at the end is a particularly memorable moment.  A stirring score, topped only by Goldsmith's later score to Rudy.  

2. Aliens (James Horner)

Even given Horner's penchant for reusing bits of other works, this score stands out as Horner's best action work.  This thrilling score is just a strong without the film - with driving percussion and virtuosic ensemble performances.  The process was horrible for Horner, who vowed to never work with director James Cameron again....  

1. The Mission (Ennio Morricone)
Matching the beautiful scenery, the score is often in the forefront through the film.  Morricone crafted some of his most stunning thematic material, notably Gabriel's Oboe.  The serene score also heavily features choir and emphasizes the crossing of cultures musically.      






Any favorites of yours from 1986 that I didn't include?  Comment below!

Top 10 Scores Turning 20 in 2016

April 27, 2016, 8:07 pm

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Back to our musical score time machine!  It's hard to believe that 20 years ago was 1996.  Here's a look back at 1996 with my list of the 10 Best Scores Turning 20!

Let's start the ranking!

10. Mars Attacks (Danny Elfman)

After a film apart, Elfman and Burton return with the campy/wacky sound of the 50s.  Interesting percussion, electronics, choir and Theremin help sell the over the top comedy style.     

9. Twister (Mark Mancina)

Mancina brought a strong Western flavor with a mix of electronic guitars to this disaster flick.  The choir moments are particularly memorable and the movie benefits from a thoughtful score rather than noise.  

8. Mission: Impossible (Danny Elfman)

After the departure of Silvestri, Elfman was tasked for an operatic orchestral score with the jazz influences of Lalo Schifrin's original theme.  Elfman features some nice flute, percussion, and bass work while focusing on a new action theme and love theme.  

7. Emma (Rachel Portman)

This score is pure Portman, a sweet and romantic score to match the source material.  Her melodies, warm string sound with woodwind solos have been duplicated - and sometimes by Portman.  With this score, Portman became the first film composer to win an Oscar.    

6. The Rock (Nick Glennie-Smith/Hans Zimmer)

This score is a slice of the mid-90s.  The score features music by Zimmer in the same vein as Crimson Tide, and most material by Glennie-Smith and Harry Gregson-Williams.  It's cheesy, action fun.       

5. The Ghost and the Darkness (Jerry Goldsmith)

The score for this has something of every style - a sweeping epic, frightening lion motifs and a strong choral African elements and a stirring main theme.    

4. DragonHeart (Randy Edelman)
Okay, I like sweeping romantic epics.  This certainly fits the bill within a few seconds of the main titles.  His mix of electronics and orchestra add to the strong thematic work. You've probably heard the main title after being used in many movie trailers. 

3. The Hunchback of Notre Dame (Alan Menken)
While Menken is known for his songs and use of songs incorporated in the score, this one feels like a separate score. The serious tone is represented by powerful choral chants and tolling bells.    

2. Star Trek: First Contact (Jerry Goldsmith)

After a few films off, Goldsmith returned to the franchise with this strong entry.  His main title theme and Klingon motif make reprises.  His son Joel (of later Stargate fame), added a few cues based on other material.  The most memorable part of the score is the new pastoral theme representing the first contact.    

1. Independence Day (David Arnold)
In a perfect example of a score elevating a film, Arnold adds an orchestra boldness in its militaristic and patriotic approach.  The main fanfare is fantastic, orchestration really lets the orchestra shine and he even brings the warmth for the more human side of the story.  A solid score from start to finish.      





Honorable Mentions:
Muppet Treasure Island (Hans Zimmer), Fargo (Carter Burwell), The Phantom (David Newman), The English Patient (Gabriel Yared) , Michael Collins (Elliot Goldenthal)

Any favorites of yours from 1996 that I didn't include?  Comment below!